In the Performance Studies Essay Example

piece by having one pair continue to dance in unison while the other pair remained motionless, similar to silence in music. These variations in time and movement contributed to the development of the original motif and impacted the piece's rhythm and tempo.

The group's final motif structure was created by combining individual motifs with pair work, similar to how a piece of music builds its texture. To add meaning to our movements, we incorporated dynamics such as speed and explored using movement in new ways.

The technique involved unrestricted movement in high jumps, similar to free-flowing melodies, contrasted with controlled movements in step actions. Additional refinement could be incorporated. Tension was employed in forceful movements, including pushing others into position, and gentle movements, such as leaping and jumping. This created a compelling juxtaposition between powerful movements that required weight and vigor, and graceful movements that emphasized lightness and delicacy.

When creating the integrated piece, spatial considerations were crucial. Our movements largely consisted of direct actions such as steps, creating a sense of limited space and distance. These movements were also used in relation to proxemics to convey an isolated feeling. Rolling was the only flexible movement utilized, as it fully utilized the available space, contrasting with the direct movements. Our choreography utilized all three spatial levels: high, middle, and low throughout the development process.

Our attention was also directed towards enhancing group dynamics through the establishment of efficient relationships. One technique used was the question and answer sequence, which involves a four-step process with two participants in each step utilizing arm gestures. This approach is a vital aspect of music composition and by utilizing it, we were able

to elevate the mood and emotions of the motif.

During the development of our movements and actions, the improvisation and rehearsal processes were closely intertwined. As individuals, we focused on perfecting our individual parts before incorporating them into pair and group work. We effectively rehearsed the pair work before moving onto group work. Additionally, we utilized a technique where each individual took turns watching the rest of the group perform to gain a perspective from the audience's point of view.

Recording ourselves on video allowed us to analyze both our individual movements and how we related to each other as a group. After considering various music options, we chose 'Dreams are Made' by UCNG which helped us maintain rhythm and reflect the mood and style of our dance. In Drama, we began with idea brainstorming, expanding upon and ultimately selecting the concept of a 'shopping mall'.

The scene is established quickly, with individuals rushing and hurrying about, exchanging hurried words and moving quickly. Following this, attention is given to each character, providing a brief pause before returning to the busy atmosphere of the mall. To represent a typical environment, we utilized contrasting characters such as a security guard, priest, pregnant woman, and homeless person. Initially, all characters would be portrayed as busy figures in the background. Then, the focus would shift to one character at a time to discuss their life experiences.

To create an engaging story sequence in our Drama sketch, we adopted a technique similar to stillness in Dance. By freezing certain characters, we were able to shift focus back to the busy scene before introducing a new character and continuing to gradually unfold the story. This

contrast of fast, sudden, and slow movements generated interest and was reminiscent of the dynamics found in Dance. We also incorporated appropriate lighting and props, such as a strobe light and set items like bins, sales racks, and character clothing.

To match the changing moods of the shopping mall, we employed various genres of music. To convey the bustling nature of the mall, we selected a track by 'Prodigy'. Our focus then shifted to the character's positioning and proxemics, where we observed two central themes - frenzied movements and social isolation. The characters' kinesics effectively depict the business theme.

Individuals move rapidly around one another to efficiently complete their duties, which is intertwined with the theme of limited personal space invasion due to their high-paced movements. Despite constantly passing each other, the hurried exchanges result in minimal head-turning among the characters, ultimately emphasizing the isolation of the setting.

As a priest, I assessed my character to improve my comprehension and deliver a persuasive performance to encourage people to adhere to God's teachings and follow the church. To achieve this goal, I use various tactics, such as giving speeches, to ensure that people hear me. However, the people around me pose a challenge.

In Drama rehearsals, we studied Brecht and Boal techniques to aid our performance. We used the third person, 'he said' and 'she said', to create a distancing effect from our characters, similar to the foreign place of worship that shopping malls are. This allowed us to think objectively about our characters while remaining involved in our roles - a technique distinctly Brechtian.

To enhance our character development, we implemented Brecht's improvisation method titled 'change in the

given circumstances'. This technique involved modifying dialogues by infusing accents and dialects while incorporating actions based on reactions. Voice clarity and projection were emphasized, with tone modulation to reflect emotions. Adequate volume was critical to ensure audibility without compromising contrasting factors. Additionally, we employed Boal's 'Forum theatre' approach to explore multiple interpretations of our characters in a shopping mall setting.

The process involved swapping roles and observing the performance from the perspective of the audience. By doing this, we were able to identify areas that needed improvement such as dialogue, physicality, and proxemics. To enhance the proxemics aspect, we vocalized the stage directions which helped us comprehend our entrances, exits, and movements during a scene. These activities resulted in improved physical and vocal endurance, amplifying our capability to connect with the audience and ultimately enhancing our physicality skills.

Technical rehearsals resembling those of Dance and Music were conducted, ensuring a seamless link between scenes from the start to the end with the use of music, lights, and stage management to enhance the atmosphere. This allowed for artistic expression and final modifications following the understanding of routines and responsibilities. Prior to commencing our musical composition, an assessment of each musician's individual ability was carried out.

Within our group, there are two individuals who play the clarinet. Additionally, one of these individuals is skilled in playing the piano and singing. Of the group members, one studied GCSE music, while two are currently enrolled in AS level music studies. These students possess confidence in composing techniques, which positively influenced the development of our composition. We began by discussing various music styles, including jazz, classical, pop and rock.

During our discussion, we

considered how to structure our composition and were influenced by more experienced members. The diagram below illustrates the various options we explored. Ultimately, we opted for a classical style with an extended rondo structure-ABACAD. We began the piece in a major key to create a bright and positive opening for our music. To ensure the piece was easy to play for both C instruments (piano) and B instruments (Clarinets), we selected a suitable key. Our composition started when one of the pianists spontaneously came up with a chord progression that the group decided to develop. Section A (Bars 1-8) served as an introduction, featuring a sequence of broken chords played as triplets that culminated in an imperfect cadence.

The opening section of the piece, played exclusively on the piano in F major and in 4/4 time, establishes the overall mood. In contrast, Section B introduces a timbre shift as two clarinets enter and perform the melody. The unison effect of the clarinets evokes the synchronized movements of a dance piece. Concurrently, the piano plays an ostinato by repeating the initial bar several times but with variations to complement the accompanying harmonies.

When A comes back, the melody and harmony are played by two clarinets, while the piano plays the same chord sequence as before but with quavers instead of triplets. The end chords of this section change to prepare for a modulation into the subdominant key B flat major for Section C. The piano accompaniment for the two clarinets changes to chords in the left hand and groups of four quavers in the right hand. The two clarinets play in close harmony, with one playing

a third higher than the other. The section ends with a trill in both clarinets followed by the final return of Section A.

In the final 'A' section, the same melody and harmony are played, but the pianist employs a different technique with a dialogue between the hands, featuring staccato in the right hand. The piece concludes with a final rendition of Section A, now in the dominant key of C major, and with the clarinets taking on the melody and harmony. The composition process took longer than anticipated due to two members lacking experience in composing, despite all members being musical and playing instruments. We rehearsed using techniques similar to those in Drama and Dance, but also incorporated some additional methods.

After composing the music, each individual refined their own part. Then, we practiced small sections of the piece as a group, starting with one or two instrumental parts and gradually adding more until we were a complete ensemble. Once we had perfected the separate sections, we connected them together and addressed any issues, such as discordances. With the notes learned, we focused on elements like articulation (playing legato or staccato) and dynamics (piano or forte). To improve our ensemble skills, we listened to how our parts combined, like when playing a harmony part on the piano, I listened to the melody of the clarinets by playing softly. Finally, we recorded the composition and analyzed our performance.

Utilizing a video camera proved to be a useful technique in enhancing our Drama and Dance performances. Consistent rehearsal enhanced individual confidence, allowing us to deliver expressive musical performances. As a result, any mistakes in note playing were minimized. Although

the group was initially apprehensive when performing for fellow students, nerves dissipated once the music began. The audience responded positively, disregarding any individual errors that may have occurred.

After considering it, we realized that the satisfaction of performing to a crowd increases when each individual is completely ready and practiced. Our inspiration for the combined performance stemmed from an article about abuse within households. Each participant took on a character's role they would portray through dance and acting. Our overarching narrative featured a fractured family that included a father and his child.

The man married a woman who had a daughter, and I played the father in our characters. The daughter was abused and was the child of the man's wife. My character had a manipulative and charming side, and I got along well with my wife, son, and the social worker. However, my son followed everything I did out of fear.

My interactions with the social worker and my spouse involve me deceiving them into perceiving me as a compassionate individual. However, I exhibit a different persona when I am with the child, where I display arrogance, dominance, and invincibility. During such times, I subject the child to various forms of maltreatment, thereby linking it to the concept of domestic abuse. The son and the child are the only individuals aware of my dual character, but they are reluctant to expose it due to their distinct concerns.

Our decision was to create a piece that alternated between scenes of dance and drama, with music featured at the beginning and end, as well as accompanying the dance sections. The opening would consist of a dance section accompanied by storytelling

through an overhead projector. This would give the audience a better understanding of the plot. Our characterisation for each character would involve performing a 32 beat motif that would link to the drama scenes, highlighting each individual's distinct personality. To build relationships between the characters, we also decided to utilize improvisational contact work.

By pairing children with step brothers and social workers with fathers, we attempted to link different moves together, but due to the element of chance involved in the choreography, it ended up being hit or miss. However, the addition of more aggression altered the dynamics. Our group work was choreographed in a way that one pair would run around the other pair at a fast pace while switching roles. Throughout the drama sections, 'Hot Seating' improvisation was quite successful as it encouraged a range of concepts and situations through questioning a character about their emotions pertaining to the situation. Additionally, we used Boal's 'Great Game of Power' as an exercise to gain insight into the power relationships between the characters.

We were able to enhance the level of tension in the piece through interaction by analyzing the individuals in control, such as the father, and observing how power was established.

After thoroughly rehearsing an integrated piece, we performed it for an audience. Although nerves were present at the start, confidence improved and feedback in the form of written comments from the audience provided useful insight into positive and negative aspects of the performance from their perspective. The general consensus was that the characterisation was convincing, but there was some initial confusion regarding character relationships and ages, which could have been addressed with more effective

make-up and costume.

The integration of the props added interest and provided structure to the piece. However, utilizing stagehands to change the props between scenes would have allowed for more continuity and fewer interruptions during which actors could take freeze positions. The performers showcased strong awareness of proxemics, making full use of the given space. Feedback from the audience was positive regarding the integration of the three disciplines with one individual stating, "the drama and dance were very well integrated and one thing flowed into the next." Another audience member praised the dramatic movements and realistic portrayal, stating, "the movements were very dramatic and almost real as if you could imagine this happening." In addition, the music was well-timed and fitting to the overall theme of the performance.

The music aided in establishing the desired atmosphere and facilitated the integration of dance and drama. Feedback from the audience revealed that the PowerPoint presentation helped them grasp the plot better. Consequently, I am now more proficient in the process of improvisation, rehearsal, and performance across the three art forms. Additionally, I understand how they merge to create a comprehensive show. Despite the unique strategies employed in each distinct discipline, there are numerous similarities evident in their inception and evolution as exemplified in this discourse.